Strapped to this journal

‘I’m strapped to this journal. Grunt. Heave. Impression that the ship is going down. The furniture slides, the table legs wobble …’ This is from the diary of Félix Guattari, a French philosopher, psychoanalyst, and activist who died 33 years ago today. Although not a diarist by nature, a collection of diary-like writings from his notebooks were published posthumously.

Guattari was born in 1930 in Villeneuve-les-Sablons, Oise, France, into a modest family background - his father was a metal worker and his mother a secretary. He attended secondary school in Enghien-les-Bains before moving on to Paris, where he became involved in student political circles. In his youth he developed a strong interest in philosophy and psychoanalysis. He trained with Jacques Lacan in the late 1940s and early 1950s, though he soon began to distance himself from Lacanian orthodoxy, pursuing a more experimental and collective approach to therapy.

In 1953, Guattari began working at the experimental La Borde Clinic near Blois, founded and directed by Jean Oury. La Borde became central to both his personal and professional life; he lived and worked there for much of the rest of his career. The clinic’s practice of institutional psychotherapy sought to dismantle rigid hierarchies by involving both patients and staff in the daily running of the institution, fostering collective forms of responsibility and therapeutic community. This practical experience deeply informed Guattari’s theoretical work, as he attempted to interweave psychoanalysis, politics, and philosophy.

Beyond his clinical activity, Guattari was heavily involved in left-wing activism. During the 1960s, he participated in far-left groups, supported anti-colonial struggles in Algeria and Vietnam, and was an active presence in the events of May 1968. Around this period, he began his celebrated collaboration with philosopher Gilles Deleuze, then teaching at the University of Paris VIII at Vincennes. Their joint publications, Anti-Oedipus (1972) and A Thousand Plateaus (1980), were later collected under the common title Capitalism and Schizophrenia. These works critiqued both Freudian psychoanalysis and orthodox Marxism, offering instead a radical exploration of desire, subjectivity, and social assemblages. They became central texts in contemporary Continental philosophy and cultural theory.

In addition to these collaborative works, Guattari published influential texts of his own, including Molecular Revolution (1977), Chaosmosis (1992), and the posthumously collected Soft Subversions. These writings continued his exploration of subjectivity, ecology, and collective enunciation.

Guattari married Nadine Charbonnel in 1961, with whom he had three children. Despite his involvement in international intellectual and political movements, he remained grounded at La Borde, where personal, professional, and political worlds often overlapped. He continued to write, teach, and practice therapy until his sudden death from a heart attack at La Borde on 29 August 1992, at the age of sixty-two. Further information is available from Wikipedia.

After his death, several collections of his unpublished writings appeared, notably The Anti-Oedipus Papers (2006), which contains diary entries and working notes from 1969 to 1973. They present a more personal and unguarded side of his thought - urgent, confessional, and exploratory - recording his creative struggles during the development of Anti-Oedipus as well as his conflicts with Lacan and his work at La Borde. A few pages can be sampled at Amazon. Back in 2015, The Paris Review published this extract from The Anti-Oedipus Papers, as translated by Stéphane Nadaud.

10 June 1972

‘I’m strapped to this journal. Grunt. Heave. Impression that the ship is going down. The furniture slides, the table legs wobble …

Writing so that I won’t die. Or so that I die otherwise. Sentences breaking up. Panting like for what. [. . .]

You can explain everything away. I explain myself away. But to whom? You know … The question of the other. The other and time. I’m home kind of fucking around. Listening to my own words. Redundancy. Peepee poopoo. Things are so fucking weird! [. . .]

Have to be accountable. Yield to arguments. What I feel like is just fucking around. Publish this diary for example. Say stupid shit. Barf out the fucking-around-o-maniacal schizo flow. Barter whatever for whoever wants to read it. Now that I’m turning into a salable name I can find an editor for sure [. . .] Work the feed-back; write right into the real. But not just the professional readers’ real, “Quinzaine polemical” style. The close, hostile real. People around. Fuck shit up. The stakes greater than the oeuvre or they don’t attain it [. . .]

Just setting up the terms of this project makes me feel better. My breathing is freed up by one notch. Intensities. A literary-desiring machine. [. . .]

When it works I have a ton to spare, I don’t give a shit, I lose it as fast as it comes, and I get more. Active forgetting! What matters is interceding when it doesn’t work, when it spins off course, and the sentences are fucked up, and the words disintegrate, and the spelling is total mayhem. Strange feeling, when I was small, with some words. Their meaning would disappear all of a sudden. Panic. And I have to make a text out of that mess and it has to hold up: that is my fundamental schizo-analytic project. Reconstruct myself in the artifice of the text. Among other things, escape the multiple incessant dependencies on images incarnating the “that’s how it goes!”

Writing for nobody? Impossible. You fumble, you stop. I don’t even take the trouble of expressing myself so that when I reread myself I can understand whatever it was I was trying to say. Gilles will figure it out, he’ll work it through. [. . .]

I tell myself I can’t take the plunge and leave this shit for publication because that would inconvenience Gilles. But really, though? I just need to cross out the passages he’s directly involved in. I’m hiding behind this argument so that I can let myself go again and just fucking float along. Even though when it comes to writing an article, I start over like twenty-five times!!

And this dance of anxiety …’